Men Can't Be Raped

An Argentine actor comes to Sweden. He has pictured Sweden as a paradise. From his small rented room, he tries in vain to make contact with the Swedes.

Harri is one of Sweden's many Finnish immigrant-workers. While in Sweden, the illiterate Harri marries and has a child. After accidentally killing a man in a fight, he flees back across the border to Finland and begins to pick up the pieces of his life, but soon, the police come looking for him.

The events surrounding a factory in a small town are gone through in documentary style.

Through the eyes of ten-year-old Alexander, we witness the delights and conflicts of the Ekdahl family, a sprawling bourgeois clan in turn-of-the-twentieth-century Sweden.

As children in the loving Ekdahl family, Fanny and Alexander enjoy a happy life with their parents, who run a theater company. After their father dies unexpectedly, however, the siblings end up in a joyless home when their mother, Emilie, marries a stern bishop. The bleak situation gradually grows worse as the bishop becomes more controlling, but dedicated relatives make a valiant attempt to aid Emilie, Fanny and Alexander.

Small-scale farmer Pasi shoots four policemen who have come to arrest him for raged drunkenness. Rest of the movie is a long flashback examining the events that finally leads to the tragic shooting. As time goes by, Pasi sinks gradually deeper and deeper into the poverty, gets into trouble with both police and tax officials while family arguments grow more and more serious. Based on a true story.

TV Documentary about Ingmar Bergman from 1998.

Nine Ways to Approach Helsinki, shot by Pirjo Honkasalo and Eero Salmenhaara, is a documentary on the capital of Finland.

Helsinki, Forever is a montage film about the city of Helsinki by the award-winning Finnish film director and academic Peter von Bagh. The film draws a portrait of Helsinki and also acts as an essay on Finnish culture in a wider sense. It shows Helsinki as captured by leading Finnish feature film and documentary makers over a period of one hundred years.

The Swedish 19th century engineer Salomon August Andrée sets out to become the first man on the north pole. His idea is to launch a polar expedition using a hydrogen balloon, together with two friends. The balloon, "The Eagle", takes off from Svalbard in 1897, but the three men are never heard from again.

Fashion Designer Anne must decide between Toivo, an architect ten years her senior, and French businessman, Jacques, with whom she's been living for three years.

Mania is a new employee at a mental hospital, where she meets a young man with mutism. He gets her to realize that it is a fluid boundary between being healthy and being regarded as sick.

A restaurateur befriends a Syrian refugee who has recently arrived in Finland.

Rational, exacting, and self-controlled theater director, Henrik Vogler, often stays after rehearsal to think and plan. On this day, Anna comes back, ostensibly looking for a bracelet. She is the lead in his new production of Strindberg's A Dream Play. She talks of her hatred for her mother, now dead, an alcoholic actress, who was Vogler's star and lover.

Manne, Harri, and Ville Alfa are rootless twenty-somethings in search of purpose for their banal lives. After Manne steals a priceless painting from a group of petty criminals, Manne and Harri flee from the gangsters across Finland, while Ville goes to Paris. On the road they meet Veera, an old girlfriend of Harri's, and try to avoid the gangsters in pursuit.

F*** Off! shows no false respect towards the authorities in its impudent and candid reportage of the developing country/welfare state Finland. It is a cinematic parallel to Donner's New Book of Our Land (1967). The travelogue focuses especially on Finland's outsiders, low-paid workers and the unemployed. In desolate provinces, the inhabitants of a cold and barren country either humbly abide their fate, choose to move to Sweden or take refuge in excessive drinking. These images are accompanied by protest songs based on Donner's own prose and the lyrics of poet Jarkko Laine. Perkele is embodied in big business and the political elite.The jagged (anti)aesthetics of the film correspond to the underground movement and the radical politics of the time. The camera agilely penetrates everyday life. Though opposed to censorship, Fuck Off! itself transgresses the boundaries of privacy.